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1. #ORGANIC SHAPES IN ART EXAMPLES HOW TO#
2. #ORGANIC SHAPES IN ART EXAMPLES FULL#
3. #ORGANIC SHAPES IN ART EXAMPLES SERIES#

Now that we've discussed exploring the entirety of the three dimensions available to us, let's look at the objects that can exist within space - more specifically, their surfaces.Ĭontour lines are the marks that run along the surface of an object. There's also foreshortening - those that are very close will have more dramatic foreshortening, and those farther away will themselves flatten out with foreshortening that is shallower and more gradual. Perspective comes into play here, with the simplified rules such as objects that are closer appearing larger, and those farther away appearing smaller. They will also be farther away from us, as well as closer. What we need to familiarize ourselves with is the concept of the third dimension - that of depth - and the idea that objects are not only going to be to the left and to the right, or above and below.

#ORGANIC SHAPES IN ART EXAMPLES FULL#

When you look out a window of a building, you know full well that what you're able to see is not the entirety of what exists out there. This page is instead a window, one that looks out onto a vast three dimensional world that continues on even where you cannot see it. The first thing we need to get used to is the idea that the space we're drawing in is no longer defined by the flat piece of paper.

#ORGANIC SHAPES IN ART EXAMPLES HOW TO#

This is much more fundamental than learning how to draw a tiger or a porsche. We're using them as a theme for exercises targeted at making you understand how everything you draw is three dimensional, solid, tangible and real. So when you move through the exercises in this lesson and those moving forward ( especially those where we're drawing actual objects like plants, insects, animals, vehicles, etc.) we're not learning to draw those objects. It's not something that just happens, it's not a truth that'll sink in the moment you're told - because there's no truth to it at all. It's about taking students who are all too aware of what they're doing and gradually teaching them to believe in fairy tales. It's this wealth of information all pointing to the impossible, and the fact that it all does it in a cohesive, consistent manner, that makes this impossible thing believable.Īside from the basic technical skills covered in lesson 1, that's ultimately what Drawabox is about. When we believe in the lie we're selling, everything we say and do will reinforce the lie, whether we're conscious of it or not.

The best way to tell a lie isn't to be extra clever, but rather to be a fool. That's what these drawings are - they're illusions created to trick the viewer into believing in something that isn't actually there. The trick is more about learning to lie effectively.

To put it simply - we're subconsciously convincing the viewer that none of this is real.

#ORGANIC SHAPES IN ART EXAMPLES SERIES#

The fact that we understand that what we're drawing is just a series of marks on a flat page is something we communicate to the viewer through subtle properties of the actual marks we put down. Unfortunately, we tend to be too smart for our own good.